Towards a neural-level cognitive architecture: modeling behavior in working memory tasks with neurons

Constrained by results from classic behavioral experiments we provide a neural-level cognitive architecture for modeling behavior in working memory tasks. We propose a canonical microcircuit that can be used as a building block for working memory, decision making and cognitive control. The controller controls gates to route the flow of information between the working memory and the evidence accumulator and sets parameters of the circuits. We show that this type of cognitive architecture can account for results in behavioral experiments such as judgment of recency, probe recognition and delayedmatch- to-sample. In addition, the neural dynamics generated by the cognitive architecture provides a good match with neurophysiological data from rodents and monkeys. For instance, it generates cells tuned to a particular amount of elapsed time (time cells), to a particular position in space (place cells) and to a particular amount of accumulated evidence.http://sites.bu.edu/tcn/files/2019/05/Cogsci2019_TiganjEtal.pdfAccepted manuscrip

Paleoneuroanatomy of the European lambeosaurine dinosaur Arenysaurus ardevoli

The neuroanatomy of hadrosaurid dinosaurs is well known from North America and Asia. In Europe only a few cranial remains have been recovered that include the braincase. Arenysaurus is the first European endocast for which the paleoneuroanatomy has been studied. The resulting data have enabled us to draw ontogenetic, phylogenetic and functional inferences. Arenysaurus preserves the endocast and the inner ear. This cranial material was CT scanned, and a 3D-model was generated. The endocast morphology supports a general pattern for hadrosaurids with some characters that distinguish it to a subfamily level, such as a brain cavity that is anteroposteriorly shorter or the angle of the major axis of the cerebral hemisphere to the horizontal in lambeosaurines. Both these characters are present in the endocast of Arenysaurus. Osteological features indicate an adult ontogenetic stage, while some paleoneuroanatomical features are indicative of a subadult ontogenetic stage. It is hypothesized that the presence of puzzling mixture of characters that suggest different ontogenetic stages for this specimen may reflect some degree of dwarfism in Arenysaurus. Regarding the inner ear, its structure shows differences from the ornithopod clade with respect to the height of the semicircular canals. These differences could lead to a decrease in the compensatory movements of eyes and head, with important implications for the paleobiology and behavior of hadrosaurid taxa such as Edmontosaurus, Parasaurolophus and Arenysaurus. The endocranial morphology of European hadrosaurids sheds new light on the evolution of this group and may reflect the conditions in the archipelago where these animals lived during the Late CretaceousPeer ReviewedPostprint (published version

La formulación clínica en psicooncología: un caso de depresión, aversión a alimentos y problemas maritales en una paciente de cáncer de mama

La formulación clínica de casos en Psicooncología es necesaria para determinar las causas de los problemas de los pacientes, diseñar el tratamiento más efectivo y valorar sus resultados. Disponer de un modelo de presentación de la formulación de los casos es especialmente útil para organizar la información, comunicarse entre profesionales, investigar el grado de acuerdo entre distintos clínicos y mejorar la supervisión. Se expone un modelo de formulación que se sustenta en las directrices con más apoyo en la experiencia clínica y empírica. Dicho modelo se ilustra con la exposición de un caso clínico: una mujer que tras ser diagnósticada y tratada de un cáncer de mama —mediante mastectomía, quimioterapia y terapia hormonal—, sufre depresión, aversión a ciertos alimentos y problemas de pareja. A continuación se expone la formulación del caso.The clinical case formulation in Psycho-Oncology is necessary to determine causes of the problems of patients, to plan the most effective intervention and to evaluate its outcomes. A model of clinical formulation case is especially useful to organize the complex information, improve communication between professionals, research the reliability and optimize supervision. It is exposed a model of case formulation that is based in the guidelines with best clinical and empirical support. The formulation model is illustrated with the exposition of a clinical case: a woman suffering depression, aversion to specific foods and marital problems after having been treated for breast cancer by means of mastectomy, chemotherapy and hormonal therapy. The case formulation is exposed step by step

La formación en psicooncología

In the present article, Psycho-oncology is defined as an interdisciplinary field of psychology and biomedical sciences aimed to cancer etiology, prevention, diagnosis, assessment, treatment, rehabilitation and palliative care, as well as the improvement of health professionals ´ interaction and communication skills, besides the optimization of resources to promote the efficacy and quality of oncological services. It is also proposed a training program in Psychooncology, which includes the programme description, aims, methods, students selection criteria, assessment methods and quality evaluation. This training program is focused on the following areas: a) clinical issues of cancer, b) organization of atentional services, c) bioethics, deontology and legal aspects, d) psychological and social factors involved, e) clinical and health assessment, f) psychopathology, g) treatments, h) health promotion programs, prevention, early detection and genetic counseling, i) multiprofessional team and burnout prevention and j) research methodology. It is emphasized the need to promote more research on Psycho-oncology treatment outcomes and to include in the training program the procedures and treatment techniques that have been empirically supported, based on the 12 division of APA criteria (Task Force)

Communication plan for the event Viña Rock

Treball Final de Grau en Publicitat i Relacions Públiques. Codi: PU0932. Curs acadèmic 2013/2014En los últimos años ha aumentado la influencia de la cultura en las políticas de desarrollo urbano, local y regional. Esto es debido principalmente a su faceta como aliciente turístico y a su creación de empleo y por consiguiente de riqueza. También juega un papel importante en la reordenación urbana, trayendo consigo nuevas infraestructuras y transformando el entorno. Como consiguiente, el resultado es un panorama competitivo entre ciudades y regiones por ver cuál satisface mejor las necesidades de sus habitantes y visitantes. En este sentido la cultura tiene nuevamente un rol importante y potencia la competitividad. Y es que desde hace décadas el crecimiento del consumo cultural ha crecido exponencialmente, y consecuentemente la oferta de actividades culturales. Dentro de esa oferta, uno de los estandartes más representativos del patrimonio cultural son los eventos y festivales culturales. Éstos tienen funciones tales como presentar y difundir la cultura de una determinada sociedad, formar parte de la oferta turística, generar riqueza en el entorno en donde se celebran y mejorar su imagen. Por lo tanto están ligados a ese lugar en el que se realizan y traen consigo impactos y repercusiones económicas, turísticas, culturales y sociales. Entre la infinidad de tipologías existentes, se encuentran los festivales de música. Un festival de música es un tipo de evento cultural que reúne gran cantidad de conciertos de música durante varias jornadas, normalmente del mismo estilo musical. De este modo los asistentes pueden pasar varios días disfrutando de música en directo. También se suelen realizar otras actividades alternativas relacionadas con la música y el ambiente festivo que suscita. Por tanto los festivales musicales son turismo musical, puesto que no tratan sólo acerca de la música, sino que también ofrecen experiencias relacionadas con la convivencia en un lugar concreto entre un público que comparte valores e intereses comunes. Anteriormente sólo se reconocía cierto valor a los festivales de música clásica, por atraer a un perfil determinado (personas con alto nivel adquisitivo y nivel cultural). Sin embargo, la sociedad cambia y con ella sus gustos y sus intereses, lo que ha provocado en las últimas décadas un incremento ingente de festivales musicales. Esto es debido a que un festival ofrece una experiencia cultural diferente a cualquier espectáculo de música en vivo. Es la fórmula que surge de combinar ocio, libertad, aventura, encuentros con los amigos, una ciudad desconocida y horarios extremos. Por tanto un festival no es únicamente música, ya que en la sociedad actual a la hora de valorar un producto o servicio lo que realmente prima es la posibilidad de acceder a experiencias. El hecho de que al mismo tiempo haya surgido una audiencia con ganas de nuevas emociones y una generación de jóvenes emprendedores con pasión por la música supone el origen de este auge de los festivales en territorio español. Una vez demostrado el éxito de estas iniciativas, la fórmula del festival ha sido tentadora para políticos locales que buscan eventos que permitan a sus pueblos y ciudades una cierta repercusión mediática de la mano de promotores que invierten en nuevos territorios de negocio. Las marcas comerciales son otro de los pilares de la financiación de los festivales, a través de los patrocinios. Se trata, en general, de empresas que comercializan productos especialmente dirigidos a la gente joven u otras que intentan atribuirse una imagen juvenil. Más adelante podrá verse el papel fundamental de estas compañías para la realización del Viña Rock. De hecho varias de las acciones desarrolladas se basan en los sponsors. Por otro lado, en este momento se habla mucho sobre el posicionamiento estratégico de los destinos y el papel que pueden tener los festivales de música para conformar una imagen más creativa del país. Se debe tener en cuenta que estos eventos no se reducen sólo a la música, turismo, ni a la promoción de los destinos, puesto que no todos ellos pueden albergar un festival. El atractivo de la localización, las infraestructuras, las actividades complementarias, la calidad del cartel y las instalaciones del recinto son los aspectos que más valora el público de un festival. Porque un festival debe erigirse sobre estos y otros factores, y ciertamente no todos cumplen las condiciones porque no tienen la suficiente planificación y no tienen en cuenta los costes y beneficios que suponen para el territorio en cuestión. En cambio los que logran salir adelante lo hacen porque se han pensado como un producto de interés turístico definido, colaborando tanto con el sector privado como con el público, trabajando por la calidad para lograr una oferta variada. Sin embargo esto no quiere decir que no experimenten las consecuencias de la crisis económica, que en 2011 frenó el crecimiento del número de conciertos que había comenzado unos años antes. Por tanto las cifras de conciertos ese año descendieron casi un 20 % y la facturación en más de un 12 %. Este Trabajo de Final de Grado en la Modalidad C pretende servir como plan de comunicación para el Festival de Arte – Nativo Viña Rock, más concretamente para la edición del próximo año 2015, en la que cumple su 20 aniversario. El evento reúne muchos de los aspectos antes nombrados. Sin embargo tiene un origen humilde, lo que significa que se ha labrado su éxito con el paso de los años y a través de la experiencia. Ha sabido ir adaptándose a las exigencias de su público y a los cambios económicos y sociales. Y es que esto es una cualidad muy importante para que cualquier festival cultural, no sólo de música, pueda sobrevivir. En cuanto a la elección, tiene varias razones. La primera es que como asistente veterano al evento he reunido los conocimientos necesarios acerca de la empresa y el producto/servicio como para realizar un plan de comunicación integral, para que este sea realista y por tanto se adapte a las necesidades reales de los consumidores. Otro motivo es el interés que suscita de por sí realizar un TFG acerca de un festival de música que no entra dentro de la esfera de lo “comercial”, lo “popular” o lo “mainstream”. Por último en el plano académico resulta interesante indagar acerca del funcionamiento de los eventos culturales y en especial los festivales de música. En este proyecto se analiza el festival, teniendo en cuenta factores como los orígenes de los estilos musicales que reúne, su historia, comunicación, naturaleza empresarial, corporate, públicos, competencia, etc. Una vez extraída esa información da paso a concretar los objetivos del plan, estrategias de comunicación y las consiguientes acciones a desarrollar como resultado.In recent years has increased the influence of culture on urban policy, local and regional development. This is mainly due to its role as a tourist attraction and job creation and richness creation. It also plays an important role in urban renewal, bringing new infrastructure and transforming the environment. The result is a competitive landscape between cities and regions to see which knows best the needs of its habitants and visitors. In fact, culture is an important role and enhancing competitiveness. Years ago the growth of cultural consumption has grown exponentially and consequently the range of cultural activities. Within this offer, one of the most representative cultural banners are cultural events and festivals. They have features such as present and spread the culture of a given society, been part of the tourist offer, generate richness in the environment in which they celebrate and improve their image. So they are connected to that space where take place and bring economic, tourist, cultural and social impacts. Among the myriad of existing typologies are music festivals. A music festival is a kind of cultural event that brings lots of concerts for several days, usually of the same musical style. The public spend a lot of days enjoying music. They are also often performing other activities related to alternative music and festive atmosphere. Therefore music festivals are musical tourism, as are not just about music, but complementary activities where socialization is encouraged, the encounter between people in a given space that share some interest and are welcomed by the residents. Previously there was only true value to classical music recognized in festivals by attracting a certain profile (people with high purchasing power and cultural level). However, society is changing and with it, their tastes and interests, which has led in recent decades an enormous increase in music festivals. This is because a festival offers a different cultural experience to any show of live music. It is the formula that arises from combining leisure, freedom, adventure, meetings with friends, an unknown city and end times. Therefore, a music festival is not only because in the actual society evaluate a product or service it really is the raw ability to access experiences. The fact that at the same time there has arisen an audience eager for new emotions and a generation of young entrepreneurs with a passion for music means the origin of this rise of festivals in Spanish territory. Been demonstrated the success of these initiatives, the formula of the festival has been tempting to local politicians seeking events that allow their towns and cities some media coverage of the hand of developers who invest in new areas of business. Trademarks are another pillar of the funding of festivals through sponsorship. It is, in general, companies that market specifically aimed at young people or others who attempt to confer the youthful image products. This project can be seen below the critical role of these companies for the realization of Viña Rock. In fact many of the actions are based on sponsors. Furthermore, at this time people it´s talking about the strategic positioning of the destinations and the role they can play music festivals to form an image of the country's most creative. Keep in mind that these events only to music, tourism, and to promote destinations, are not reduced since not all of them can hold a festival. The attractiveness of the location, infrastructure, complementary activities, the quality of the artist and site facilities are the most valued aspects of a public festival. For a festival should build on these and other factors, and certainly not all qualify because they lack sufficient planning and do not take into account the costs and benefits they bring to the territory in question. However those which make it is cause they are thought as a product of definite interest, working with the private sector and the public both by working for quality for a wide range. However this does not mean they do not experience the consequences of the economic crisis in 2011, wich caused the growth in the number of concerts that had begun a few years earlier decreases. So odds concert that year fell by almost 20% and turnover by more than 12%. This TFG in Mode C is intended to serve as a communication plan for the Festival de Arte-Nativo Viña Rock, more specifically for the next edition in 2015, which celebrates its 20th anniversary. The event has many of the above named areas. However it has a humble origin, meaning that has built its success over the years and through experience. He has been able to adapt itself to the needs of your audience and the economic and social changes. And this is a very important for any cultural festival, not only music festival, to can survive. This choice has several reasons. The first is that as a veteran visitor the event have met the necessary knowledge about the company and the product / service to make a communication plan for this to be realistic and therefore meets the real needs of consumers. Another reason is the interest in itself to make a TFG about a music festival that´s outside of the "comercial", "popular" or "mainstream". Finally in the academic interest to inquire about the functioning of culture and especially music festivals. The project analyzes the festival, taking into account factors such as the origins of musical styles together, history, communication, business nature, corporate, targets, competence, etc. Once extracted, this information gives way to achieve the objectives of the plan, communication strategies and the actions develope